Centre for Dramatury and Curation
The Centre is a space for independent research and experimentation in the fields of dramaturgy and curation. It is a space where you can focus and make time for your research.
Georgia Banks is a Melbourne based artist working primarily with live performance. She has completed a Masters of Fine Arts from Victoria College of the Arts, for which she was awarded the National Gallery of Victoria Women’s Association Award. Her work is predominantly concerned with extrapolating a new conceptual and evaluative framework for which to better understand the potential for reenactment to be used as a radically feminist act of transformation and reclamation.
Jessica Knight [website]
Jessica Knight is a writer, performer and comedian based in Melbourne. She has appeared in The Emerging Writers Festival, Red Dirt Poetry Festival. Her writing has appeared in Meanjin and Scum Mag. Jessica is in residence working on her one woman show, Mormon Girl, about growing up Mormon and how she disentangled herself from that belief system to became the unapologetic feminist she is today.
Adele Wilkes [website]
Adele Wilkes is a filmmaker and artist whose practice includes video art, experimental documentary, and photography. Her work has been exhibited, screened and broadcast around the world (including at ACMI, MONA FOMA, Next Wave, Channels Festival, Sydney Contemporary, ABCTV and at various international film festivals) and transmitted into deep space. During her residency, Adele is exploring non-traditional storytelling, multidisciplinary or hybrid work, experimental techniques in documentary, expanded cinema, poeticism, personal mythology/philosophy, authorial voice, audience, performance, presentation, and her work’s place in the context of contemporary art and cinema.
Krishna Istha [website]
Krishna is a performer, writer, live artist and theatre maker. Their practice looks at transformations (physical/political/collaborative), gender politics & queer culture using subversive text, cabaret elements & comedy. They have performed extensively across the UK, Germany, Australia and USA in works that span across theatre, opera, comedy and performance art. Krishna’s most recent solo show, Beast, directed by Barry Award winner Zoe Coombs Marr, is a trans stand-up comedy show. For their residency, Krishna is exploring the craft of writing dialogue.
Emma Mary Hall [website]
Emma is reflecting on the role that foyers play in our experience of theatre, both in terms of individual works and in terms of our relationship to the role of theatre for community building. She is also looking at how the design and function of foyers can be consciously used to address the social anxiety that abounds in them. She is exploring theatre foyers as a site of class clash between the ruling elites and the creative class, both of whom have private relationships to the space and are forced to share it, in a world where it is becoming increasingly uncomfortable (but urgently necessary) to have IRL conversations with people who are not like you.
Sibyl Kempson [website]
Sibyl Kempson’s plays have been presented in the United States, Germany, and Norway and in 2015 she launched the theatre and performance company 7 Daughters of Eve in NYC. Her project, 12 Shouts to the Ten Forgotten Heavens, a 3-year cycle of rituals for the new Whitney Museum of American Art in the Meatpacking District of NYC, began on the Vernal Equinox in March 2016, recurring on every Solstice and Equinox through December 2018. Other recent projects include true pearl, a new opera with David Lang for the Isabella Stewart Gardner Museum in Boston and Sasquatch Rituals at The Kitchen in NYC, both in 2018.
Dan Giovannoni and Amelia Chandos Evans [website]
Dan and Amelia are two award-winning playwrights living and working in Narrm/Melbourne. They co-wrote the award-winning play for young people CUT SNAKE (Arthur, Theatreworks/TRS/Brisbane Festival/Critical Stages), and are now working on Mad as a Cute Snake, the sequel to CUT SNAKE for 5 to 9 year olds, premiering at TheatreWorks in September 2019. Through their residency at CDC, they’ll be researching the age old question: how many characters can four actors play before it becomes nonsense? Support their quest!
Luke Kerridge is an award winning theatre director, experienced arts educator, and Artistic Director of Barking Gecko Theatre. Luke has an established practice as an arts educator and has worked as a teaching artist for companies including Malthouse, Sydney Theatre Company, atyp, Monkey Baa Theatre Company, The Victorian College of the Arts and Shopfront Contemporary Arts Centre, where was an Artistic Associate. Most recently, Luke was the Artistic Associate at St Martins Youth Arts Centre in Melbourne.
Dan Giovannoni is an award-winning playwright living and working in Narrm/Melbourne. His plays include Merciless Gods (Little Ones Theatre, adapted from the book by Christos Tsiolkas), Jurassica (Red Stitch), Bambert’s Book of Lost Stories (Barking Gecko Theatre Company), Turbine (Malthouse Theatre), Wrecking (Fat Boy Dancing) and Cut Snake (Arthur). He has worked as a guest artist, teaching artist and artist-in-residence with companies including Back to Back Theatre, St Martins Youth Arts Centre, Arts Centre Melbourne, Malthouse Theatre and AWESOME Arts. Dan is a winner of a Mike Walsh Fellowship, 2016, and is currently a writer in residence at Melbourne Theatre Company.
Bridget Mackey [website]
Bridget Mackey is a Melbourne-based theatre maker. She has written a number of plays that have been produced in various festivals and arts spaces across Australia. Her plays include: Love/Chamberlain (Moral Panic, Ainslie & Gorman Arts Centres, Canberra, 2017), The Exact Dimensions of Hell (Cybec Electric Readings, Melbourne Theatre Company, 2016), Kindness (Flight Festival, Theatre Works, 2015) and Hose (MKA, Theatre Works, 2012). Bridget is Performance Director for The Hunt, a multi-disciplinary group of artists who use sound, performance and imagery to create performance vignettes that draw on horror tropes in film, fashion and literature. Their show Woman in Car won the 2017 Liveworks Experimental Art Award, supported by Performance Space. Bridget Mackey spent a week in residence researching the question ‘How does sound design influence an audience's understanding of narrative?’, drawing on her playwriting and performance-art background to develop a new draft of her play: The Exact Dimensions of Hell.
Erin Milne [website]
Erin has extensive experience as a producer of live performance and interdisciplinary projects, spanning theatre, dance, installation, music, new media and visual art. She also consults to organisations on strategic planning, business development, policy and research projects; and is a sessional lecturer at Deakin University and Victorian College of the Arts. She is the founder of Bureau of Works, an independent producing company focused on creating strategic opportunities for artists; supporting artists in the creation of new work and exploratory form; and developing contexts that foster risk-taking and ambition.
Amanda Haskard & Kristi Monfries [website]
The Volcanic Winds Project is an arts organisation initiated by Kristi Monfries, an independent arts producer and curator currently based in Yogyakarta, Indonesia. Working with an array of cross-disciplinary projects coming out of Indonesia and South East Asia, The Volcanic Winds Project focuses on projects that are highly collaborative, experimental and inclusive with the main aim of exchanging ideas and skills between artists from a variety of backgrounds and expertise, that can result in gallery shows, workshops, performances and musical events.
Emilie Collyer [website]
Emilie Collyer writes plays, prose and poetry. Her work often asks difficult questions about humanity via the existential, the impossible or the fantastical. She is a graduate of Professional Writing and Editing RMIT and Masters in Writing for Performance Victorian College of the Arts. Emilie Collyer is using her residency with the Centre for Dramaturgy and Curation to investigate her approach to playwriting by writing three plays in three different ways, and looking at them in parallel.